Jess Franco, the walking death of Eurocrime (Part VII): The case of Jack the Ripper

    The Thesis: Every Eurocrime-Franchise that Jess Franco touched, had to be buried afterwards. Basically his movies are the sleazy epitaphs of once-well-regarded serials and characters: the last chance to squeeze some money out of an already dead topic.

Jump to each chapter HERE 

Clearly playing on
Profondo Rosso. There
was no competition,
though.

Jess Franco had not set a foot into Germany since 1971 and French soil had become too hot for him too. His habit of outspending his generous income had led to several vacated suitcases in unpaid hotels and whoever wanted to employ him had to do that on safe grounds and/or bail him out.

In comes Erwin C. Dietrich, who had already earned his credentials by being very ruthless when it comes to making money with movies, virtually stopping nowhere. He too had suspiciously closed down (or better stopped working in) his german companies and with the money transferred into Switzerland built his own movie empire there, in the end becoming one of the most successful entrepreneurs in that field.

Luckily, Dietrich was native Swiss, so he could cross borders as he wished and had nothing to fear from the German or French or Italian IRS. Furthermore he was fluent in all three languages and english. Very coincidentally, Jess Franco too had set up a company in Liechtenstein wich is basically the appendix of Switzerland with even less international obligations when it comes to money laundring.

Dietrich recalled the day they met for the first time when Franco just stepped into his Elite Films Zurich office, followed obviously by a financial creditor in person who would not leave his side until his depths were paid by Dietrich. 

Dietrich was aware of Franco's habit of repaying credits using extra takes from already financed movies (and making a new one out of it, and giving that as payment). So he had him watched. The length of the movie was contractually agreed before shooting and Franco only received 20% more footage than the film would have (basically on a 6000ft movie, he would get 7200ft) and had to pay if he used more. Furthermore there was always at least one Elite Film Zurich employee on the set to make sure that Franco did not change lenses "accidentaly" to shoot in another format. That one was Peter Baumgartner, Dietrich's pal and very capable in-house cameraman - which helped a lot.

This explains the relatively high quality of Franco's work for Dietrich. But the limitation on second or third takes still makes these movies unmissable Francoflicks.

The Erwin C. Dietrich Strangler Krimis series:

Mexican poster for "The Strangler
of the Tower"

I will dwell on the EC-Dietrich Krimis some other time. But here just quickly. EC Dietrich produced 3 Krimis during the 60ies, all of them have in one version or another "The Strangler" in the title. First one was "The Strangler of the Castle" which later became "The Nylon Noose". Although shot on a shoestring, it did exceptionally well, maybe because of the presence of Laya Raki who was - at that time - a worldwide celebrity and burlesque star.

 The money that came in was quickly distributed into different companys - bought as quickly as sold and always by longtime employees of Dietrich -. The follow-up would be "The Strangler with the Mask", which would be shot in color in Italy by an experienced director called Mario Bava. The 30% financing that Monachia (EC Dietrich) had, with the additional payment of the "German" stars gave him some leverage on the production. 

Sadly, all of Monachia's files accidentally fell into the Zurich Lake when the German police were looking for them (in 1972...). So we will never know how much of "Blood and Black Lace" actually is by Dietrich (who liked to write his own scripts as well). 

"Der Würger mit der Maske/Blutige Seide/Blood and Black Lace/6 Donne" did very well for a "foreign" Krimi, eventually proving that it was possible to build up the tension in color. And maybe (together with the phenomal success of "Fantomas") leading to distribution monopolist Constantin's decision only to distribute Krimis shot in color after 1964.

1965 Dietrich (as "Urania") invested the money gained  in a Krimi called "The Strangler of the Tower", Adi Berber's last movie. This one was handled by Dietrich, already in Switzerland,  alone. It did surprisingly well for a small b/w krimi, maybe beacause CCC had left the market and some people did like to watch black and white still. 

But Dietrich had produced another movie simultanously: "Black Market of Love" a sleaze-crime-epic that had a ridiculously high return on investment. Dietrich immediately dropped all plans to do another mainstream Krimi and went into sleazestream Krimis instead. With huge success. The titles alone are connoiseur's work: 

Black Market of Love

... and not even sixteen

Black Mink on Tender Skin

Porno Baby

Me, a Groupie 

Django Nudo and the Horny Women of Porno Hill

Underage seductresses (Part I & II) asf.

Black mink on tender flesh

But EC Dietrich never buried his plans of doing a "proper" Krimi.

This recut version is only available
on old VHS-tapes.Current releases
are the giallo-cuts.

A test-balloon had been set free in 1971 when Elite-Ascot bought the rights to "The Beast kills in cold blood" and recut this Kinski-vehicle for a german release as a Krimi "Das Schloß der Blauen Vögel" (The Castle of the Blue Birds) credited to popular german author Heinz G. Konsalik. Dietrich was trying to build up a new Krimi-brand after Edgar Wallace heavyweight Alfred Vohrer had successfully switched to the Mario Simmel (another german author) Krimis. 

In 1972 there is a strong connection to "The Red Queen Kills 7 Times", a very well made "Krimi/Giallo" hybrid, but I'll have to dive deeper into this.

With Jess Franco on board, obvious rehashs of the director's past films came naturally. Scifi-femdom (Sumuru/Blue Rita), Krimis (Deadly Avenger/Downtown), WIP (99 Women/Women behind bars). Plus he had recently added experience in period movies like Dracula. 

Furthermore, Erwin C. Dietrich was trapped: With porn going all the way in the early 70s, his simulated sex pictures went out of date and as close as he got to porn, he stayed clear from the actual act. But with his sensationalist movies he had been excluded from the mainstream, something he dearly wanted to achieve. The only movies of his that had  made reasonable money AND had been part of the mainstream were his Krimis. So why not try a new one?

With the Krimi-idea still hanging in Dietrich's head, Franco suggests a period drama on the case of Jack the Ripper and going with the times with additional gore and sex. If you have watched the uncut Bryan-Edgar-Wallace movies, you were surprised (like me) to see nudity and gore there already.

Who better to get as lead role than Klaus Kinski - an OG Krimi veteran. 

Case opened:  Der Dirnenmörder von London (The Whore-Killer of London) / Jack the Ripper

Come on, do I really have to tell you the plot?

Klaus is a doctor by day and sadistic slasher by night who likes to have sexual intercourse with the still warm bodies. He kills prostitutes as he needs to kill his mother over and over again. The girlfriend of the inspector lures him into a trap and he is caught....

Original German VHS Cover. 
Released in 1982 it was easily
one of the biggest selling item and 
immediately banned. 

If you think this sounds like a variation of "Das Ungeheuer von London", the 1964 Bryan Edgar Wallace (proto-) Giallo, you are not very far off the mark. Just imagine this all in  b/w with Joachim Fuchsberger and Karin Dor (and Kinski of course) set in the 1960s and you got a clean EW-type-Krimi. They even kept the comic relief character in. From the beginning this is so Krimi with the opening shot being the standard stock-footage of the Tower/London and immediately switching to Zurich as a probable stand-in. Color-coding is the same as in Franco's "Death Avenger" BEW, complete with a blind man at the killings and barrel-organ sound. There is a nice comparison between "The Sinister Dr. Orloff" and this movie which you can find here.

Never mind the modern windows or the prominently featured glass building blocks, never mind that a lake is not a river and never mind there basically is no fog in most of the scenes. Picture is most of the time sharp and there are even some fancy camera-work-shots going on.

Kinski is ... Kinski. You get what you pay for. With the knowledge we have today it is hard for me to appreaciate him and I literally felt very uneasy when the camera lingered long on his face in close-up. I wished I had not watched it on a 200" screen in my home cinema.

There is of course violence and heavy but unconvincing gore and surprisingly little sex. The whole structure is like a Krimi, coming in hard, then exploration then two or three set-pieces and in the end the killer is caught, which of course did not happen in the true-crime case.

Lina has only a small role, which helps.

It is a decent film with the odd anachronistic (Bryan)EW-feeling. But considering that this was the same year and the same market in which "Profondo Rosso" was released, these are worlds apart.

Hello, this is Jack the Ripper speaking....

Returns were good but not overwhelming (as always with EC-Dietrich Krimis), the movie made it big when released to the VHS-market in the early 80ies. Given the strictly meager budget, the movie drives it's point home and that is - of course - also to the credit of Jess Franco who wrote the script.

The most remarkable thing Dietrich stated was that "the scene that has Kinski rape Chaplin for the camera took an unnecessary amount of takes, and Franco enjoyed his perfectionism very much." No wonder that Josephine Chaplin quit movie making to work on television from then on (wait... this is the second time I write this, first time was Shirley Eaton after Sumuru II....).

Josephine clearly not enjoying the multiple takes

So this is the last of the Krimis and the last crime-movie EC-Dietrich would do. There can be a discussion about whether "Enigma Rosso" is the actual last one coming from that era, but not now and not here.

So did Jess Franco kill the Krimis?

Verdict:

This is a decent Krimi with heavy gore and sex. It definitively feels more Edgar Wallace than Argento. The times for these kinds of movies, however were gone and Franco was the wrong man to bring in new impulses. EC Dietrich never made a krimi again, but that is more attributed to the fact that he just could make more money out of utter sleaze, to which he (and Franco) went back after the lacklustre financial results of "Der Dirnenmörder von London".

Acquittal

Dietrich and Kinski did not get along well. Curtuosies aside this was not an option for a future collaboration which had been left open by the movie. If things had gone well, Dietrich would have been the first to milk the cow. The reviving of the old school Krimi had failed.

This is the last decently budgeted mainstream movie that Franco would be doing. But clearly, Krimis are not his thing. Franco - in all his Krimis - is more an emulator than giving the feeling that he is actually comfortable. His thing were naked women. Simple as that.

Dietrich now again went all sleaze-in because that was where the money lay. He had previously distributed the first two Ilsa-films in the german-language countries, so the contacts were there to let Jess Franco put his hands on something he himself had started back in the day with "99 Women". WIP

So next time it is Jess Franco vs. Ilsa

ADDENDUM:

There have been discussions on whether "Jack the Ripper" is a "real" Krimi or not. But there is no scientific explanation to what is a "Krimi". There is only one objective argument that this is not a "Krimi": It was shot in 1975, whereas the "authors" take 1959-1972 as the period of the "Krimi". But this is nonsense. Is "Opera" not a Giallo because it was made after 1980??? You cannot simply choose a timeframe when a movie that meets all other criteria is made outside of it.

Let's see:

Orginal Version German, made by a German-Language company in a German-Language country with german-speaking actors: yes

Crime Movie set in a fantazised London with a germanic town standing in: Yes

Scotland Yard and Girlfriend of Inspector involved: Yes

Regularly appearing comic-reliev character: Yes

Mad Killer going round killing people in gruesome ways: Yes

Camera-work relying more on basic shots that on fancy camera movement: Yes

Mad Doctor making mad experiments with his victims: Yes

Known Krimi Actors: Yes

So one might argue that it is not a Krimi as it has certain features not in other krimis:

Manic Killer instead of money-motivated Killer. Come on. "Room 13" has a (female) mad razor-blade slashing killer in all graphic detail (though b/w) and is of course considered a "Krimi".

Set in the past instead of a alternate-present London. That was done before in "Sherlock Holmes and the Necklace of Death" and nobody disputes that this is a "Krimi".

Not made by CCC or Rialto and not distributed by CONSTANTIN. True, but made by Erwin C. Dietrich who at least had two (if you count Blood and Black Lace in, three) picture-perfect Krimis (Nylon Noose and Strangler of the Tower) that had not been distributed by CONSTANTIN either. 

Sex and graphic splatter effects. The sex is very much toned down even by 1975 standards which  suggests that the movie is aware of being a Krimi. The graphic splatter effects are there and vicious but take a look at "Room 13", "Phantom of Soho" and especially "Monster of London City" in all their Scope-restored-4k-uncut glory there is just more in length (in seconds) but not more in viciousness of the splatter effects. 

Corpse abuse: Well, yes. The corpse-abusing we have in "Jack the Ripper" is never shown so openly in the other KRIMIS but it is hinted at. This is more because it is 1975 and not 1968. 

Foreign movie director: really? REALLY? Artur Brauner was foreign, even Horst Wendlandt was foreign (not his real name), Hugo Fregonese was foreign, asf. come on. And besides that, Franco had already shot two official KRIMIS before.

So no. I do not see any reason that this movie is not a KRIMI. It may even be the last one. 

But I will do a post on this in the near future.

Sources:

I do not want to repeat myself, but the section on "Jack the Ripper" in Stephen Thrower's book is really huge and I simply did not want to copy all the information there out of respect. Get the book while you can, or wait some years till Roberto Curti gets there.

Most of the new information here is taken from "Mädchen, Machos und Moneten" a very good and healthy biography of Erwin C Dietrich and his multi-part interview he did for the phenomenally good magazine Splatting Image. 

Jess Franco, the walking death of Eurocrime (Part VI): The Case of Dr. Mabuse

   The Thesis: Every Eurocrime-Franchise that Jess Franco touched, had to be buried afterwards. Basically his movies are the sleazy epitaphs of once-well-regarded serials and characters: the last chance to squeeze some money out of an already dead topic.

Jump to each chapter HERE 

Jess had delivered the "Akasava" on time, had sheltered the money put into "Deadly Avenger" by Tele-Cine and now obviously the last of Arthur Brauner's investment opportunities had quickly to be made into celluloid, Dr. Mabuse.

This leads us to "The Vengeance of Dr. Mabuse" or "Dr. M schlägt zu", the semi-inofficial entry in the Dr. Mabuse series. Semi-official because the original holder of the rights, CCC-Films, never used the name on this film. And in the german dialogue, Dr. Krenko, the main villain, is only subordinate of an unspecified "Organisation". Anyway, the movie had already been sold to the partners as "Mabuse" movie and so you get the name in basically all foreign versions of this movie.

CCC-Films today  do have an own "Jess Franco" category in their "classics" department (so it is "Karl May", "Dr. Mabuse", "(Bryan) Edgar Wallace" AND "Jess Franco" (!!!) on their official website!) and there it is complete with all foreign titles referring to Dr. Mabuse. CCC-Films too give the original working titles as "The Man who called himself Mabuse" and "Mabuse 70". 

Official CCC-Films archive-card for Dr. M

The Franchise:

You know him. Let's make it short. Based on a pulp-novel, the first two silent adaptations of Dr. Mabuse by Fritz Lang are absolute milestones of crime-cinema and if you've not watched them by now... come on. There is NO excuse.

Dr. Mabuse is a crime-lord in the booming black markets of defeated germany, he has the power of mind-control and uses various disguises for his deeds. He tries to found an international organisation with the money gained by his crimes. 

Aim of the stories and of the first movies is to show how rotten the capitalistic society was. These are highly political films, with the third, the talkie "Das Testament des Dr. Mabuse" actually replacing Mabuse with Hitler, the movie cannot be released and director Lang went to the US on a long vacation until 1950....

Let's play word-memory: Black Market / Crime Lord / Mind Control / Defeated Germany/ Better World/ International Organisation

CCC was founded by Arthur Brauner AND Joseph Einstein who was THE DON of Berlin's black markets after WWII. And Arthur Brauner only gets the licence for filming by the american occupiers under the obligation to re-educate the defeated german people with internationally produced movies and all will life in a better world. 

I do NOT make these things up. I just draw the line between the dots!!

No wonder, Brauner was keen to do a Mabuse film. He obtained the rights and even got Fritz Lang to do a fourth movie (The 1000 Eyes - which is not based on an original Mabuse story but rather on the very obscure "Mr. Tott kauft 1000 Augen" (transl: "Mr. Deass buys a 1000 eyes" by Jan Fethke, written in Esperanto!!!!!! and published in German 1932)). 

Before Lang decided to do "1000 Eyes", the first Mabuse script was a direct sequel to "Testament" called "Vengeance of Dr. Mabuse" (sic!), so this script is around since 1954!

After that, Lang does not want to do another one, so Brauner just takes the usual suspects of Krimi-entertiainment through 5-6 more movies, including a team-up with Bryan Edgar Wallace. All have a certain SF-element in them and gadgetry ("invisible rays") and Mabuse is using super-advanced technology. The last one as a thinly veiled James-Bond wannebe. 

Please note that after 1933's "Testament", the real Dr. Mabuse is actually dead, only his spirit is set free in the world and through mind-control he now controls subordinate "master-criminals".

You might be wondering why the figure for the french release of "Death Rays" is missing. As the CNC only records the top 30 of each month, some movies drop off the charts unnoticed. I would assume a figure somewhere between 200.000 and 250.000 would be a sensible suggestion.

The series has a steady but stable decrease in ticket sales and did well in foreign markets, obviously due to the prestigious name. Brauner stopped 1964 after "Death Rays of Dr. Mabuse" but with over 1.200.000 million tickets sold, this was still going strong. He had cut down his BEW-franchise the same year but that last movie "7th Victim" at least had had very low box-office returns. 

I do not see a reason for Brauner stopping the Mabuse-Franchise commercially. Getting in lots of co-financers from foreign fiefdoms (ha!) the financial risk was not big and Spain was virtually begging him to finally produce "Die Rache"/La Venganca, a scipt that had been lying around since before the 1st Mabuse film...

Maybe Brauner wanted to get out of the B-movie bracket that the BEW and Mabuse-Films had been. From 1965 to 1968 he would do big budgeted color-scope movies that did cost a lot of money like the Nibelungen-Remake, Kampf um Rom (A Fight for Rome) and 5 oriental Karl-May extravaganzas with whom he tried to fight the Rialto-Karl-May-Western success. 

All of these were intended to make Brauner, who - basically - had been a smut-peddler, an honorable man. Kampf um Rom was the biggest budgeted german movie up to this point but failed to reach the 1.000.000 ticket sales that the last Mabuse easily had trespassed. Brauner later fumed that he could have "produced 10 Wallace movies with the money spent on Fight for Rome". So he was regretting pulling out of these franchises and maybe decided to get back in again with Jess Franco on his side. 

The Living Corpses of Dr. Mabuse (1971)

A curiosum inside the "Mabuse"-franchise is that  Berlin-born Gordon Hessler's "Scream and Scream Again" was marketed as "Dr. Mabuse" film in Germany in 1971 (!). This could only have been done if Artur Brauner had sold or sub-licensed the rights to the name at that point. "Scream and Scream again" boasts the magnificent german title of "Dr. Mabuse's Living Corpses"

"Dr. Mabuse's Living Corpses" movie did not fare too bad just edging inside the year's Top 100 movies with around 500.000 tickets sold, still beating "Cat O Nine Tails" by 100.000 tickets. 

I have already checked into this anomaly very deeply and found some very interesting facts but that will be something for the future.... just trust me: 

Scream and Scram again IS a real Mabuse-film!

Obviously there was still flesh on the rotting corpse of Mabuse.

Case opened: Dr. M schlägt zu ("Dr. M strikes") / Vengeance of Dr. Mabuse

-or-

Plan 10 from Dr. M

Translation of the german title is NOT "strikes back" it is "strikes", "Strikes back" would imply that this is a sequel, while "strikes" does not. Furthermore, the german movie title for the 1960 french Eddie Constantine movie "Ca va etre ta fete" was "Lemmy Caution schlägt zu=Lemmy Caution strikes" althogh this was not a Lemmy Caution movie. Check out the first installment of my series for the Jess Franco - Lemmy Caution connection. And yes... the movie title game is NOT incidential. These titles, I have learned are like a code, but more on that in my "Scream and Scream Again Post"....

Obviously A. Brauner had fun too, rewriting the script for the german version, our supervillain is called "Dr. Franco" (script), although in the actual dub he called Dr. Cranko/Krenko 

Plot: This is as bad as it can get. There is virtually nothing here except that it is something about a device used to get a deadly weapon and therefor we have to kill/kidnap some people which our trusty Andros - the one from Franco's "Secreto del Dr. Orloff "(1964) does (Andros here looks stiched together...so he is obviously one of the superhuman "living corpses" that Dr. Browning had created in "Scream and Scream again"....). 

Andros, still crazy after all these years

"Secreto del Dr. Orloff" was relased as "Die Lebenden Leichen des Dr. Jeckyll" (Living Corpses of Dr. Jekyll") in Germany. See what I mean with the name-game?

I tried to try. I tried to care. But I could not help it. This is Plan 10 from Dr. M. 

Man. It sucks, in a big way. 

If you really, really want to see some Dr. Mabuse in it, maybe it is from the "Chemiker Null" novel but this is just about stealing secrets from a scientist. So not much flesh in here.

The problem is that it did not need to. Photography is fine to stunning (with some occasional lapses) but acting and script are below the lowest par on every level. This feels like an Ed Wood movie. I honestly do not know what Franco tried here. A complete lack of stars  doing their least to hide their desintrest. This is all ridiculous but not in a funny way. 

I am aware that post-modernists in the 70ies tended to make fun of the old heritage, but this is an insult. Mabuse always had a social commentary, crime evolving out of capitalism and disproportion of wealth distribution. This here is just a Orloff/Monster on the Campus copy with no meaning at all.

Charades, charades.

As with the movie, the title and the distribution, the actors play charades. Siegfried Lowitz, who had already played in a Dr. Mabuse movie and was a staple face of the Krimis but no-one to draw crowds, here has to play a completely different character  (Prof. Dr. Orloff (!)) for a day (maybe less - obviously he owed this to Brauner as he had he had dropped out of the movie business in 1965 to work exclusively for TV).  Lowitz dubbed himself too in this movie, which would mean that a theatrical release was planned. Overall the dubbing, though done by professionals (the german actors here dubbed themselves), seems rushed, as if there had not been any second takes. 

The actors behave as if they do not have a clue what's going on and frankly I believe them. I'm with sheriff  Thomas who intentionally does not get at all what this movie is about. 

It does not help that Brauner again uses the same score he had already reused for "Deadly Avenger", taken from previous year's sleaze-crime-fest "Perrak". This whole thing just feels wrong. 

Original spanish artwork by the  co-producers. There is no german original filmposter.

Original spanish artwork by the 

co-producers. There is no german

original filmposter. 

Franco had held back this movie for over a year before handing it over to Brauner, for reasons unknown. When he finally could lay eyes on the product he had produced, Brauner was said to be furious. Instead of using the script given to him, Franco had just made another Orloff-movie.

It could well be that Franco had used the money given to him by Brauner to remake his own "Secreto" and then just delivered that in an audacious move that quickly ended the collab.

From the title "Dr. M" it is clear that Brauner did not want to use the "Mabuse" license he had optained from N. Jacques. Putting it on the movie would have cost him 1000 DM in license fee, which would today amount to around 2000 US-$ maybe even more. As a business man he would  have calculated the costs against an additional income through the use of the name. And having no star-power (or anything else) to lure people in, he  simply let it be. Maybe he was even fearful of Fritz Lang, the man who co-created the movie character of Mabuse together with Norman Jacques back in the 20ies. I don't know.

On an interesting note, although Jacques did own the rights to his creation it is said that Fritz Lang and his then-wife Thea von Harbou (Metropolis) held similar rights to the movie-character of Dr. Mabuse which meant that he had a say in forthcoming movies with Mabuse. But there is just one source about that.

That decision must have been made early as the original german opening titles have the new name properly displayed. Brauner obviously did not want or could not use the name here. 

Does it matter? No. This movie has nothing to do with Dr. Mabuse.

If the premiere of this movie actually took place on Dec. 26 in Berlin's very cosy Capitol Theatre I  expect that half of the audience would have walked out. I am not aware of the ownership of this theatre back then, but I would not be the least surprised that it belonged to Brauner somehow and that it was just just a test-screening and no official premiere as no poster or other material proving a german release is available anywhere.

This movie release was so rushed (Board of Censors certificate on 20th Dec!, "release" 26th Dec) and then buried that suspicion arises. Cooperation with Jess Franco was abruptly terminated and the release of the last BEW-franchise movie "The Etruscan kills again" was on Dec .31st of 1972.

Brauner stated that "he never had any problem of any kind at any time with Jess Franco" but Franco did not touch German soil in 1972 and for some years later...

In the 1990s, when Dr. M finally appeared on the surface in Germany, the heirs to N. Jacques sued Brauner  for using "Mabuse" on this film (yes, they sued him for the 1000 DM). The court however ruled in Brauner's favour that the Mabuse license option had not been drawn on this film.

So it is officially (and court-proven) not part of the Mabuse-franchise. 

The spanish version, which is significantly different though, was marketed as "Vengeance of Dr. Mabuse", the old title that already had been sold to the spanish market in the 1960s on the script with the same name, that was not used in this movie.

Verdict:

Acquittal

Did he kill "Mabuse" off? No, because the movie in question is not a "Mabuse" movie. If it were, though, Franco surely would have killed Mabuse as profitable franchise once and for all. This is more in the vein of his relapses on "Fu Manchu" and "Edgar Wallace" -- too meaningless to have any impact at all.

Parole violation: Hm. As this is an Orloff-movie and Orloff is a creation of Franco himself, of course he came back to him a 1000 times. But Franco never trespassed the line and used the Mabuse-tag somewhere. So here he behaved himself.

Cliffhanger: I don't make these things up, I just draw the lines between the dots. And one dot is a certain "Dr. M", who is not the fictional character of Dr. Mabuse but a real-life person/villain/crime-lord that actively pushed the low-budget german cinema industry over the edge in 1972. Certain things make sense, like Franco not setting a foot into germany from the end of 1971 and Brauner, clearing it all off in Dec. 1972.... but you, my dear readers have to be patient. This will still take me a year or so to fully research this complex situation.

Questions remain: 

Why did Brauner stop Mabuse in 1964 although returns were not bad at all?

Why did AIP shoot two obvious Mabuse movies while co-producing "De Sade" with CCC? (yes, two!)

Why did the METROPOL (name of the theatre of "Invisible Dr. Mabuse") distributor call Gordon Hessler's Ninja-epic "Pray for death"  "1000 Eyes of the Ninja" in Gemany???? 

Man, I am curious... I will tackle all of these questions when I get back to "Scream and Scream again", but for now, let's continue our journey:

Jess Franco did not set a foot an German soil after 1971 and purely coincidentally sleazemonger EC Dietrich had just retreated to  neutral and tax-havenly Switzerland. So after a brief stay in France (and lots of accumulated depths by Franco) both teamed up to try to feast on another film-series. Next time we have:

Jess Franco vs. The Strangler

Here is a list of the books I used (besides many, many websites with singular information):

Peter Osterried's big format, colorfully illustrated
Hardcover from 2011 is complete with stunning photos.
A bit lightweight on the actual background of the moves.
All Dr. Mabuse movies are covered. Essential.

This is edited by one Solveig Wrage, a semiprofessional
publication but with lots of real archival material. If
you want to know who wrote what to whom and when, then that's the
book to go for, very lightweight on the "why" and simply
nonchalentely omits all non Lang/CCC movies.

Good english language overview by Holger Haase,
basically summarising all you need to know. Excellent 
value for the money asked by amazon kindle.
Holger got his own, worthwile blog here:
https://krimifilm.blogspot.com

Jess Franco, the walking death of Eurocrime (Part V): The Case of Bryan Edgar Wallace and Dario Argento

   The Thesis: Every Eurocrime-Franchise that Jess Franco touched, had to be buried afterwards. Basically his movies are the sleazy epitaphs of once-well-regarded serials and characters: the last chance to squeeze some money out of an already dead topic.

Jump to each chapter HERE 

Jess Franco's quick style of filming gave Arthur Brauner a lead in producing the first Edgar Wallace Movie after "The Bird with the Crystal Plumage" had done surprisingly well inside the "Bryan Edgar Wallace"-bracket. Quickly "Akasava" was put out, but here is where the Edgar-Wallace franchise for Brauner ended. The only way to capitalise was, of course, using the "Bryan Edgar Wallace" name that belonged to Brauner's CCC-Filmkunst-production company.

Proudly presenting the new "Giallo"
by Bryan Edgar Wallace, the 
ultraviolent and highly successful
"Strangler of Blackmoor Castle" / Strangler
with 9 fingers/ Würger von Schloss
Blackmoor (No. 2)

The Franchise: Boy oh Boy. What in the world have I gotten myself into? This is the unwanted bastard-child of the EW-series, a frankensteinian abberation of a movie series. Let's try to make this short:

After Arthur Brauner (CCC-Filmproduction) had tried to compete with the original Rialto EW-Series with "The Curse of the Yellow Snake" in 1961 (and failed), he found out that there was a cheaper way to give the people that dearly needed EW-kick. He quickly purchased the rights to the futuristic spy thrillers (and the name) of his son, Bryan Edgar Wallace and put out a very low-budgeted first one in 1961 ("Mystery of the black Suitcases...") and made profit.

 Good. 

Now he went all in and starting with "The Strangler from Blackwood Castle" the following 3 movies easily were X-rated, with heavy violence and topless nudity.

They are now available as uncut and restored 4K scans and I was really surprised on how close to a giallo "The Phantom of Soho" and esp. "The Monster of London City" come. Much of the nudity and violence had been cut for the foreign releases and were not to our disposal since they ran theatrically in Germany until 2024.

He even put out a BEW/MABUSE crossover, surely written by Bryan Edgar Wallace. 

After the Krimi-craze had faded out in 1965, Brauner stopped producing these krimis. Basically that was the end of the short-lived BEW-franchise (That would be movie no. 6 "The Seventh Victim" see below). 

So in 1969, when "Double Face" had bombed as EW-Krimi for Rialto, actually everything went quiet on the Krimi-front. 

In June (!!!) 1970 Brauner released a movie he had co-produced by a young italian director called Dario Argento (No.7). Brauner decided to use the BEW-franchise again, although the movie was based on a story by Frederic Brown. "Das Rätsel der schwarzen Handschuhe / The mystery of the black gloves / The Bird with the crystal plumage'" did better than Rialto's "Double Face" and given that this was a summer-movie in a year with desasterously low attendance figures, it was a very good business choice. 

This is exactly what you think it is: A bird with the Crystal Plumage, in 1963s 
Phantom of Soho!

Horst Wendland, head of Rialto was pissed that his biggest competitor, sleazemanoid Arthur Brauner had actually the last say in EW and decided to do it once again, going for "Die Tote aus der Themse / The dead woman from Themse River/ Angels of Tower", which would be a "true=german" last EW-picture. Brauner, trying to beat Rialto once more, bought Jess Franco from Harry Towers, complete with the EW-rights to the Sanders-Franchise and VERY quickly produced "The Devil came from Akasawa", which could be released one month before(!!) the Rialto-Film. Sadly, though, distributor Constantin had decided that it was not possible to have two EW-movies distributed at the same time and Brauner had to go to a minor distributer instead (that's what Brauner said....). 

(Are you still with me?) - BTW, I have a post on which movies were in which franchise HERE

1. Death packs a suitcase
2. The Strangler of Blackmoor Castle....
3. The Mad Executioners
4. Phantom of Soho
5. Monster of London
6. The Seventh Victim
7. Bird with the Crystal Plumage
8. Cat o'nine Tails

The figures for 9. (Four Flies), 10. (Deadly Avenger)  and 11. (The Ertuscan)cannot be obtained as of now (1972 is strangely missing in the statistics.....)

Arthur Brauner, eager to duplicate the success of "The Bird with the crystal Plumage" had "ordered" Dario Argento to replicate this movie. Which he did not, "Cat o'nine Tails" is a much more sombre affair and not the sensationalist flick Brauner had hoped for. He sold his rights to left-overs-reuser "Terra Filmkunst" which at least could distribute this movie  inside the BEW-Franchise with Constantin-distribution. It was a flop (No.8 see chart), as Brauner had predicted. The third movie was unceremoniously buried and not  released as part of the BEW franchise (and not distributed by Constantin) - that one was "Four Flies on Grey Velvet". It was, however announced as BEW-movie in some press releases.

But back to 1970: 

Brauner still tried to cash in quick and dirty on the EW-Franchise and while he was at it, why not let Jess Franco shoot another  one, using the old script that was already used for the very first BEW movie (that no-one remembered). After the mess that "Akasava" had been (storywise) he himself now reworked the script together with Franco and told him exactly how to shoot the movie.

Looks much better in b/w

Furthermore, Rialto, the OG EW did very well, selling their movies to national TV where they kept the nation glued to the small screen (The german word for this is "Straßenfeger" - "Street Sweeper" as nobody was outside when these movies were shown on TV). 

And so we get a second-hand Bryan Edgar Wallace movie, done on the very cheap, by Jess Franco, who had to shoot basically for TV. The original aspect ratio is 1:1.33. Although shot in color, this movie looks splendid in black and white - at a time when most tv-sets still were b/w (in Europe). 

Case opened: Der Todesrächer von Soho 

Ok, here it starts already. How shall I translate this title? It could mean:

a) The Avenger of a death from Soho b) The Avenger of multiple deaths from Soho
c) a-b) in/of Soho  d) The Avenger of DEATH (like "The Avenger of the Grim Reaper") in/from Soho
e) The Deadly Avenger from/in Soho  f) Dying Soho's Avenger  

aaahhh. I go with "Deadly Avenger of Soho" but basically "Todesrächer" does not exist as a word in German, it is simply made up to sound good. And it is in no relation to "The Avengers"-series which was not as popular in Europe as it was in Britain. 

That was called "With Umbrella, Charme and Boulder Hat" in Germany, therefore making it very unlikely that the "Rächer=Avenger" had anything to with it. The two words "Tod" and "Rächer" had been very common in german spaghetti-western titles, so I assume this is the train of thought to go with. 

The plot: A mysterious killer kills wealthy men by masterfully throwing knifes at them. Before that, though, he makes sure that they already have a packed suitcase standing there (for their travel, you see?). Ultra-hip Inspector and successful crime-writer try to track him down. And if you've seen the first Colombo-episode (that one by Spielberg), you know right from the start who the killer is and for who he does the killings. 

Black Shadows, Black Suitcases, the broken world
of Soho's Deadly Avenger

This is as simple as a script for any giallo and  it definitively passes as hibero-giallo, if I'd show it to someone unfamiliar with the EW-series. But only men are killed (what a disappointment), the music is a copy of a rip-off of "Peter Gunn" (double disappointment) and the women keep their clothes on (triple disappointment for a 70ies JF-Giallo!!!!).  

This is a tv-movie or a direct-to-video fare. Everything here cries out "cheap!!!"

Everything? Let's check the milestones:

1. Script - an old one, already filmed?- check

2. Music - modern, already used in two movies the previous year? (including the deliriously good and Vohrer-directed post Edgar Wallace film "Perrak") - check

Man, even the poster looks 
suspiciously cheap...

3. Cheapest filmstock - no lenses. 1:1.33? - check

4. Cheap location - Spain, of course.... or was it Portugal? 

There has been some kind of controversy about this subject, as Franco had told Brauner later that the movie was shot in revolutionary Portugal and that it was basically impossible to produce invoices/receipts. Brauner later demanded the money un-accounted for back fearing that Franco had diverted it to his own Liechtenstein-based company (nothing of course could be furthest from the truth, we know). The CCC-archives also state Spain as location.

The license-plates on the featured cars could be portuguese, but also british ones, both of them having the white/silver on black in 1970. But checking "uncontrolled" cars in random street scenes, these are obviously the unmistaken square black on white license plates of spanish cars. Evidence admitted. Spain it was.

5. Wallace-typical-SFX like fog ? - Naah, let's hange some gauze over the lense, that will do for TV - check

6. Wallace Stars - yes but those who basically don't know where the next job comes from - check

7. Few locations - Police Room, Living Room, Stage in a bar (which suspiciously looks like the other side of the Living Room), Castle-Room. - check

8. Be sure to avoid a cert 18/x rating, otherwise it cannot be sold to tv  - the quick nude shots account to max 30 seconds and can very easily edited out of the movie ..

The tone of this movie is dark, noir. It is made with care and even Franco's cameraman obviously - for a change- was sober. It looks like a film made in therapy. And considering that this is the movie Franco directed after his muse had died (previous chapter), one can understand. This is not a care-free affair like "Akasava", even if the german dubbing tried to put some fun into the dialogues.  I already wrote about his use of stark contrasts and shadows. This is visually a good neo-noir movie. 

Official CCC-Films archive-entry for "Avenger" complete with wrong ratio...

Apart from that, this is a very controlled affair,  moving along at a slow but even pace and you can see that Franco thought about every shot in advance. All the actors give a solid performance, everybody seemed to have a good time. This is better than most F.J. Gottlieb Krimis and a very solid entrance into the series. No, it's nothing scandalous, nothing flashy, but done in a certain style and a good movie for a rainy sunday afternoon. No-one would complain. 

To be honest, this movie reminded me very much of Dario Argento's "Phantom of the Opera", where the maestro tried to recapture the feeling of a silent film through static shots. I had the same feeling with this one here too.

But this movie looks like a reserve-feature, something to hold back, not to release if not necessary. This movie was not meant to be seen in the cinemas. On small b/w tv-sets, this movie works best. 

The Etruscan features some actors 
that never were in the movie but
had to do their tax-declaration quickly
before the end of 1972....

It is no secret that these CCC-JF movies were financed as tax-shelters with very "creative" ways of accounting ..(Portugal....) 

In 1972 all of these film-trusts came under scrutiny by the German IRS due to a big money-laundring scandal (more on that in the next chapter). So all the tax-shelters with dubious financing and accounting quickly had to be dissolved (= those movies had to put into cinemas at all cost before the end of the year). 

Let's see :

Todesrächer von Soho (shot in 1970, released Nov. 9th 1972)

Vengeance of Dr. M (shot in 1970, released Dec 26th ,1972 in ONE cinema only!!)

The Etruscan kills again (BEW-Movie no. 11 "The Mystery of the Yellow (!!) Grave") on SUNDAY(!!!) Dec 31st. 1972 (by Brauner owned mini-distributor "Cinerama") .... 

These movies  were not directly produced by Brauner's CCC-Filmkunst, but rather by a very thinly disguised post-box company called "Tele-Cine", which was started with the first Brauner-JF co-production, the eurospy-parody "Lucky M." in 1966 and filed for bankruptcy right after JF and Brauner had departed ways on Dec. 31st, 1972........ so many coincidents.....

... figures? There are strangely (!!)  none for these movies in Germany. I have not been able to find out exactly how many people saw them. But attendance must have been pretty disappointing. According to Arthur Brauner he already had worked on two further movies based on novels by Bryan Edgar Wallace, but Constantin distributor rejected all further proposals. 

"Deadly Avenger" was not sold to TV, but kept in a closet for 10 years until it was very quickly  realased on VHS after the  statue of limitations had passed in 1983.....

Brauner once stated that he basically did not care which movie had the "BEW"-logo tagged on it as long as it made more money with it. And from the get go, this whole enterprise felt like cheating (not unlike the later mockbusters that used similar titles to lure audiences). So ending the BEW-franchise is not a huge loss although it put out two remarkable movies: the daring"The Strangler of Blackmoor Castle" and, of course, "The Bird with the Crystal Plumage". 

Verdict: How can you kill something in 1972 when it has already been dead in 1965? It was not Jess Franco that killed the "Bryan Edgar Wallace"-franchise. It was Dario Argento with his boring "Cat o'nine Tails". Sorry to say that  but I'd rather watch "The Deadly Avenger" multiple times (and "Dacula 3D" if it must be) before I waste my precious time with Karl Malden playing a blind puzzler. 

Acquittal, he did not kill the franchise, but he could not ignite it again either.

Did he ever do it again? Nope, not a single Bryan in sight in Jess Franco's later work. Why should he? In 1979 he could already get the father's name for spanish productions and even if he wanted to do a movie on the works of Bryan Edgar Wallace... those rights were with CCC-Filmkunst  and the books had been published in the 1950ies and were still under copyright control.

Franco stated that this was the best of his three Krimis he did for CCC and I can easily see why. I like the film and I can see him here trying to emulate Argento and Vohrer at once. Good work. I honestly cannot see anybody making a better movie for the time and the money Franco had.

Arthur Brauner was not finished with Jess Franco yet. There was still a third franchise to wrangle. The prestigious "Dr. Mabuse" series. So next time it is:

JESS FRANCO VS. THE IRS

oh

sorry

JESS FRANCO VS. CCC-FILMKUNST

nonono

here:

JESS FRANCO VS. DR MABUSE

Sources:

A perfect book. 900 pages, big format, all color 
Includes 90% of all Krimis and the pre-war
Edgar Wallace Movies too.

The benchmark 400 pages of in-depth knowledge.
Joachim Kamp went into the archives 
and had been given the documents of
many scriptwriters of the series. This is a completely no-nonsense,
nearly scientific approach to the subject.
Prime research example. Besides
Rialto, though, a bit thin.

This too, a benchmark. 600 pages on Jess Franco, and this
is only part 1. Big format, beautifully researched.
Top writing and very entertaining.

Jess Franco, the walking death of Eurocrime (Part IV): The Case of Edgar Wallace

  The Thesis: Every Eurocrime-Franchise that Jess Franco touched, had to be buried afterwards. Basically his movies are the sleazy epitaphs of once-well-regarded serials and characters: the last chance to squeeze some money out of an already dead topic.

Jump to each chapter HERE 

After getting into trouble for sending Sumuru where she should not be (at least in the eyes of Elizabeth Rohmer) and being released from his duties to HA Towers, Franco finds himself under the patronage of Arthur Brauner of CCC, who is eager to exploit the specific talents of our spanish friend.

 Obviously part of the deal between HAT and CCC is the EW-Commissioner Sanders franchise (but without using Sanders) and Miranda Soledad, an upcoming star for Jess Franco and a woman he deeply adores.

4. The Case of Commissioner Sanders

Here already, it starts to get complicated, concentrate!:

1.The Franchise:  Rialto-Constantin had had huge success with their Krimis based on Edgar Wallace novels. But Wallace had done adventure books too (King Kong, anyone?). The hero of this series is Commissioner Sanders in HM Colonial Service in West Africa. HAT obtained the rights to do  a series of adventure flicks based on these novels. Maybe he had even thought of letting JF direct one after the series had not been that successful.

Three movies had been produced by HAT with stark declines in audience response:

1963 Death Drums along the River  

1965 Coast of Skeletons  

1967 Five Golden Dragons

2. To some crime-novels of Edgar Wallace Rialto had not been able  to obtain the rights because they were already sold to other movie production companies. Arthur Brauner, head of CCC Studios found out about this and was able to purchase the rights to "The Yellow Snake" and produce a Rialto-Krimi-Clone even starring the "faces" of the Rialto-Krimis and Christopher Lee.

3. Brauner then was able to obtain the rights to the novels and the name of Wallace's son, aptly named Bryan Edgar Wallace and decided to launch his own series based on these works. But they were primarily SF-Novels, not crime novels. Interestingly in the 3rd installment of the series "Phantom of Soho" 1963, already a connection to the Sanders story and the Akasawas (a fictional tribe in Africa) is established. 

Mexican lobby card for "The Nylon Noose"
that was called something with "The Strangler"
everywhere else in the world.

4. EC Dietrich of Monachia/Urania had tried to produce those movies for CCC but his "Strangler of the Castle" was rejected. To add insult, CCC released their next BYW-movie under the title "The Strangler of Blackwood Castle", making it impossible for Monachia to release their Krimi under that name, the title had to be changed to  (The Strangler with) "The Nylon-Noose". The script for both movies was written by Hungarian exilee Ladislas Fodor who also wrote for Rialto, but had the unfinished original script (out of which both films would evolve) still in his desk-drawer: Basically it is about a disabled wealthy man who tries to get world control by manipulating stock markets and medical experiments in the cellar and that he is in a wheelchair but can walk... (which would work for Dr. Mabuse too, but not let us open that can of worms yet...)

5. Rialto pulled the plug from their Edgar Wallace Krimis in 1969 when "Das Gesicht im Dunkeln / Face in the Dark / Double Face" had bombed and overall attendance had dramatically dropped in Germany. Remaining scripts and treaties were put on hold or sold to other companies. 

6. Although "Double Face" had flopped miserably by Rialto standards, the CCC-produced BEW-krimis did not have a larger attendance but stll made their money through ridiculously low production costs. Furthermore, "Bird with the Crystal Plumage" had made good money for Arthur Brauner in 1969 as a BEW-marketed movie, so why not quickly make an EW (and an BEW .... next blog entry....) in 1970?

Ok let's bring this together:

1. African adventure + 3. BYW SF-Krimis + 4. Fodor leftover script from 1963 + 5. Rialto is off, let's chash in the franchise quickly +  6. Make it as cheap as possible + 2. Get permission to use the EW-Name from HAT, who wanted to get rid of JF (Liechtenstein....) 

and give it all to Jess, who always did his own thing and loved the Lemmy Caution movies anyway, (and mind control!!!), then you get:

Case opened: The Devil came from Akasawa

or, talking in franchises:

The EW-Sanders/BEW-Crime&SF/Lemmy Caution/Eurospy/ - hodgepodge.

Given 1-6. there was no other way, the film could be different from what we have here: A rushed, cheap, SF-Krimi-Spy-African Adventure movie. JF even gets in his own Lemmy Caution impersonation complete with being rebuffed by attractive young women who he tries to make out with and black faced zombies. 

From a legal point of view this must count as the 4th "Sanders" movie, as it is obvious that the HAT's franchise had been used.

Besides this, the script just uses motives from an EW-short story: "Keepers of the Stone" in which the Akasawas had a luck-bringing stone that inhabits two ghosts and an inscription by the devil and when it was stolen, bad luck came over the Akasawas. Sanders tries to find the thief, only to find out that the stone is guarded by a ROMAN legion in full AD 9 armour. Eh. ok.  That's all. Sureley no stuff for ANY EW-Movie, let alone a Krimi! (maybe for Raiders of the Philospher's Stone .... hm...;-)

At least now I know why the third spy in this movie is an italian one. I had been wondering.

To make things bad,  JF muse and main actress of this movie Miranda Soledad died in a car crash during post-production, so that no reshoots were possible and JF edited this movie in a traumatized state of mind. 

The Plot: 

All you always get are remarks that the plot is all over the place and basically no-one understands it. So I sat down, took notes to bring you the only written complete summary of this movie in the entire internet/publicised world.

And - as you know - it is completely forbidden to ask any questions as to why, how, where, when this all happens in a JF movie. 

Interestingly I had to stop every 20 minutes or so to write the plot down, these 10-minute breaks enhanced the viewing experience immensely. This is a serial on steroids and should be consumed with caution:

This is gonna be hard, but this is how it goes: 

In Africa a mysterious crystal has been found that can change any metal to gold but will turn men into black-faced zombies if they do not wear protective material. The crystal has been found by assistant (A) of a professor for archeology (PA), in Kenian Akasawa, but (A) gets sick due to radiation. (PA) drives to Medical Doctor (MD) who, with his wife (WoMD) offers help. (PA) drives back but never reaches his house/disappears. 

(A) meanwhile is murdered and Crystal is stolen. Friend of (PA) (FoPA) asks head of Scotland Yard (HoSY) to send a female spy (FS) to investigate and pose as his wife. Unbeknownst to them a male spy from the CIA (MSCIA) investigates too, and even the italian secret service (THE ROMANS... get it?) has a spy (IMS) on the case.

Now they all meet in an african hotel where (FS) is performing as a stripper (natch!). An anonymous killer wants to kill (FoPA), but gets killed himself and (FS) and (FoPA) have to get rid of the corpse, witnessed by (IMS) and (WoMD) who just happens to have sex with (MSCIA) in the hotel room next door.

(FS) then invites (MD) with (WoMD) to one of her performances, to lure them away from their house, so that (FoPA) and (IMS) can search it for the crystal. (IMS) finds it but is locked into the room, exposed to the radiation. 

Meanwhile in London, (HoSY) visits a friend, an aristocrate ex-colonial serviceman, who is wheelchaired (WEXCSMA) and his wonderful wife (WoWEXCSMA).

In Kenya, (FoPA) is killed by a sniper and (MSCIA) is shot in the leg which is broken. (MD) applies plaster cast to the leg but hides the Crystal (!!!!!!) in it. Thus, returning to the UK, the crystal is smuggled by an unsuspicous (MSCIA).

(FS) telling slimy (IMS) to FO!

Oh, look, now everybody's (MD), (WoMD), (FS), (MSCIA), (HoSY), (WEXCSMA) and (WoWEXSMA)  in good old London and the story gets complicated: 

- here all the other summaries simply stop - 

(MSCIA) is (a) obviously immune to the radiation and b) is believed to have the stone. He is offered 500.000 Dollars for the crystal by a mysterious oriental organisation led by Mr. Wong(!!!). Their meeting is surveilled by (WEXCSMA) who orders his wheelchair-pusher (WPoWEXCSMA) to kill Wong and (MSCIA). 

Meanwhile (MD) had gotten the crystal from the plaster and tries to flee to Hongkong but is killed by (WPoWEXCSMA) who now has the Crystal.

Wong is killed and (MSCIA) attacked but he and (FS) can follow (WPoWEXCSMA) back to the manor of (WEXCSMA), where- in the meantime - (PA) has arrived, walking all the way from Kenya as a black-faced zombie. 

Sue(muru) wants the crystal too...you know?

(WoWEXCSMA) unceremoniously kills (PA) who had worked for (WEXCSMA) but did so in good faith and felt betrayed when (MD) had killed (A) on orders of (WEXCSMA) to get the crystal.

(WoMD) arrives at the manor just as battered (WPoWEXCSMA) enters too. She obviously recognizes the killer of her husband (MD) and thus has to be bondaged and gagged by (WoEXCSMA) who actually can walk (making him EXCSMA and his wife WoEXCSMA). 

At that moment (MSCIA) and (FS) are at the door, looking for the assassin (jobless WPoEXCSMA). They are led in by (WoEXCSMA) and first can find nothing but (jWPoEXCSMA) is bleeding and drips of blood betray him. In the shoot-out  (EXCSMA) and (WoEXCSMA) are killed but (jWPoEXCSMA) can flee with the crystal, but that causes the plane (!!) to crash. In the end (MSCIA) is seduced by another woman interested in his stones.

Ah, this got a bit out of hand, sorry. I had a blast watching it and obviously Jess Franco too as this is full of hints at his older movies and given the right state of mind - quite funny. It is not obviuosly so, though. You really have to be a Franco-afficianado to appreciate it, and the average cinema-visitor is not. 

My personal highlight is 
the "striptease" by (FS). This 
photo includes the complete
dance routine with
all her moves!

Furthermore Franco overuses zooms, cuts, camera-movements and blur to make the basically static scenes hip and modern but will induce headaches to the uninaugurated. Camerawise this is a very sloppy  and unattractive movie. But I had a lot of fun, as it is obviously a farce, a mockup of Edgar Wallace Krimis (who by themselves were already humorously self-reflecting).

The movie is not worse than some bad Rialto or CCC (B)EW movies, but it simply oozes a lack of care. I would definitively prefer this one to the last official Rialto-EW-release "Das Rätsel des silbernen Halbmonds", which is better known as the giallo "7 Blood-stained Orchids". 

Some scenes that take place in London (but were shot at the CCC-Studios in Berlin) do feel like the old Edgar Wallace movies. The problematic side is more the African (Spanish) footage which simply is far too careless (obviously Brauner was not there...).

The music is great and seeing "Sir John" Siegfried Schürenberg as a competent HoSY for a change is very, very refreshing (maybe it was the reason why he picked the role - there is a biography that is out of print and only available at ridculous prices - so I don't know). Besides this, the only other recognizable EW-actor is Horst Tappert (as MD), but the role is quite small and he looks as if he did not give a shit. Soon he'd be moving on to become germany's national inspector Derrick for 20 something years on TV. 

Mitigating Circumstances: Well, there was no money in it from the beginning and in the end Miranda Soledad died during post-production. This could have been a better movie, if the enviroment had been right. 

Aggrivating Circumstnaces: Jess Franco bare-chested is something I don't want to see on the big screen.  No wonder (FS) tells him to f..off as he's hitting on her because there is too much grease in his hair. And why are there all the maps of the dalmatian adriatic coast in the manor in Akasava????

Only 300.000 tickets were sold after the release (1971). Reviews were bad. Due to the fact that Constantin did not distribute the film (as it had done with basically all the other BEW and EW movies) it started with a few copies in a few cinemas, so that ratio should be of interest (customers per copies).  

Distributor was the "Cinerama Filmvertriebs GmbH", 

which has nothing to do with the Cinerama film-technology. 

The distributor had been the german branch of 

"The Rank Organisation" but was sold (to Arthur Brauner???) in 1969.

 It is known that Constantin did not put out less than 20 copies. 

So if we assume an amount of 10 copies, the movie must have done

better than other krimis (in a relative way). And if (!) Cinerama belonged

to Brauner, it would have made some money for him....

After the bad turnouts for "Castle of Manchu" and "7 Men of Sumuru", Arthur Brauner can be held responsible for trying to kill off the EW-franchise using JF,. Maybe he wanted to make  it difficult  for Rialto to produce a comeback-EW, because this is clearly and prominently advertised as "A real Edgar Wallace", something that was a trademark of Rialto. 

Try to find "Akasava"! Hint, it was released after
the dismal performance of "Double Face".

But if we look at it as a "Edgar Wallace Sanders" movie, which it was legally (and is, at least half of the time ), things do not look so bad, considering there was a shap decline in movie attendance from 1968 onwards anyway: 

To have some fun (yes, that's what I call fun) I calcultaed to gross turnover and deducted the inflation to find out which movie was the most cost-effective one. The percentage of the ROI is the thing that makes any businessman weep. Let's see: 

The decline between "Fiver Golden Dragons" and "Akasawa" is even less (-14% against the -31% if we only see decline in attendance). So this must have worked quite well given the ridiculously low costs that Franco made movies have.

It would have been the final EW-movie if "The Bird with the crystal Plumage" had not revived the franchise before which led to Rialto (co-) producing three more "original" EW-Krimis. It was however the final Sanders picture, but that one had been dead anyway. So obviously, he was not able to kill the franchise off, because three more EW and three more BEW movies were released thereafter. 

Verdict: Acquittal due to not succeeding in the deed

Parole Violation: "Viaje a Bangkok, ataúd incluido" (1985) , "Sangre en mis zapatos",  "Voces de muerte" (1983) 

Well, what can I say about these movies. The Edgar Wallace franchise was not based on specific characters like Lemmy Caution or Fu Manchu, so it is very hard to find any connection to the works of the english author 

a) if there is no title of a book or short-story used 

b) if there are no characters like commissioner Sanders or Inspector Higgins used 

c) if there is no plot / device used that can be found in EWs works. 

Yep, there it is: "Based 
on an Edgar Wallace 
Novel"

"Viaje a Bangkok" is a mix between "Cartes sur Table" and "Coffin from Hongkong" (a german eurospy-movie produced by EC Dietrich and based on a book by JH Chase). Aside from one character being called "Sanders" there is no connection to EW, as the character is not the Sanders we know. However delightful this movie is, it's not part of any EW-franchise.

"Sange en mis zapatos" again is basically a eurospy-clone and no reference to EW can be found other than that in the press-release for this film there is a line in there that it was based on '"Sanders of the River". And you know this blog is based on "Lord of the Rings". I wrote it here, so it must be true.

"Voces de muerte" was never released and no-one has ever seen a print of this film. Again someone said that he heard of somebody who has seen a piece of paper where  it was written that there is a rumour that it was based on the EW-story "Case of the frightened Lady". But what do we know? 

The long lost John Carpenter
Opus Magnum "Day-Killer"
aka "5 Donne...".
I was traumatized watching this
while expecting an elegant,
sophisticated movie.

There  used to be a german release for "5 Donne per L'Assassino" (of all films!!!) where it was officially declared as a John Carpenter movie. Sure. If somebody has written it down it must be true....

Until 1986 (Spain entering EU), the spanish copyright law from 1898 was legal which protected written publication for 80 years after the date of publication. EW had his first short-story published in 1899 and his first crime novel in 1905 (Four just men). So basically Jess Franco was able (from 1979 to 1986) to put the "Edgar Wallace" name on everything inside of Spain, as long as he could make a connection to these very early works.... I think that's what happened here. The same could be applied to the Fu Manchu stuff, but not on Sumuru (as she came into life in the 1940s). After 1986, EU and international law was enforced with the 70years after author's death rule (=2003 in EW's case - now lex Disney with 94 years but not appliable to deaths before 1978).

After the failed assassination, Arthur Brauner then let Jess Franco try his hand on a remake of a classic BEW-Movie. Let's see how this went:

Jess Franco vs. Bryan Edgar Wallace

Sources:

A perfect book. 900 pages, big format, all color 
Includes 90% of all Krimis and the pre-war
Edgar Wallace Movies too.

The benchmark 400 pages of in-depth knowledge.
Joachim Kamp went into the archives 
and had been given the documents of
many scriptwriters of the series. 
Prime research example. Besides
Rialto, though, a bit thin.

This too, a benchmark. 600 pages on Jess Franco, and this
is only part 1. Big format, beautifully researched.
Top writing and very entertaining.